Your Behavior Is Unacceptable in the Cheap Hotel

Written by Halina Reijn, this contemporary dramatic duologue from the film Babygirl captures an emotionally charged confrontation inside a rundown hotel room. A high-powered executive meets her young intern under the guise of asserting professional boundaries, only for the dynamic to spiral into a dangerous power struggle. The situation exposes the fragile line between authority, infatuation, and suppressed desire.

Romy enters the space determined to re-establish control, projecting the polished composure of an executive accustomed to command. Beneath her formal reprimands lies a volatile mixture of anxiety, fascination, and self-delusion as she tries to convince herself she wants the boundary-crossing to end. Samuel meets this corporate posture with calculated nonchalance, disarming Romy through quiet amusement and sudden physical unpredictability. He recognizes the unspoken attraction pulling them together and actively exploits the shifting balance of dominance.

This scene serves as a masterclass in subtext, demanding that performers communicate far more through breath, timing, and eye contact than through spoken dialogue. The rapid shifts in authority give both actors moments to drive the action and react with nuanced vulnerability. It allows auditionees to showcase their emotional restraint, maturity, and capacity to handle dark, intense material without tipping into melodrama.

The piece is ideal for performers looking for mature dramatic material in the 35 to 45 age range. It aligns well with casting types such as Leading Lady, Anti-Hero, and Young Professional, and it offers great value for agent showcases, self-tapes, and rigorous scene-study practice.

Resist the urge to play anger as a singular note throughout the confrontation. Romy must allow the audience to see the panic beneath the reprimands, letting the pristine exterior clash with the gritty environment. For Samuel, lean into stillness and relaxed pacing, allowing the sudden physical assertiveness to surprise the room rather than broadcasting it early. Focus on the spatial relationship between the characters, as physical proximity dictates every shift in power.